Robert Kelly

Warning:mUutations are arbitrary interpretive readings that change the poems into something they’re not. Proceed at your own risk. See Uut Poetry for more info.

Here’s Matthew Zapruder’s “To a Predator”

I woke up early and saw a fox.
It was leaping and dragging its glorious
red and white tail behind it across
the road. It held a grasshopper in its mouth,
which it dropped when it saw the small
carcass of a young javelina. Last night
I was woken by their hairless rooting through
a field of cactus in moonlight. They all
stood together, ears rotated forward into
the breeze, protecting the single mother
protecting a pair of young. Their
mustachioed labium superius oris i.e.
upper lip protects a gentle tusk
the color of greywater. I almost sympathize
with their corporate need to snuffle
and roam in packs until dawn returns them
to hollows they made in the ground.
But my sleep does not. Thus I shone
a very powerful flashlight into their midst
and watched them scramble across
the highway, dispersing. Thus I walked
out into this morning, wearing a shirt
the color of a dandelion, whistling
an uncertain tune about the mild unequal
life I would like to know better of a rich
acquaintance in the Mexican city of Guadalajara.

I’ve been thinking about what Robert Kelly wrote in the early 60s about each image in a poem having “its field of force, its shadow moving darkly through the poem.” Arrangement, or sequence, for Kelly, is the key:

Basically, the fullest force is possible only by means of the successful employment of one image’s position in a context of other images… The subsequent image is conditioned, made to work, by the image that precedes it, and conditions, as it is finally conditioned by, the image that follows it: through the whole poem…

The whole poem is more than the sum of its parts. Very important for this superequivalence is the ORDER of images within a poem.

Kelly is thinking about images, but it is impossible not to see an overlap with narrative or dramatic sequence working the same way and being almost the same thing. In Zapruder’s poem, the most remarkable moment is not the encounter with the fox-mother and babies in the night, but the “shirt / the color of a dandelion” the speaker dons the next morning. The sensory and psychological tone in that detail gathers almost all of its meaning from the scene preceding it, the nocturnal encounter. “Thus” rhetorically aids the transference and reinforces the sense of a causality-link between this moment and the night before. We’re cognitively confused and delighted at the notion that a shirt’s color (or his choice of shirt) hours later had anything to do with the foxes. The tight, chronological structure of the poem amplifies this effect. What’s the “residue” of the previous images on the image of the shirt? It’s impossible to say—herein is the ineffable, almost magical trick poetry playing on the mind.

The effect also comes through a paradigmatic or contiguous relationship, much more directly having to do with what Kelly is referring to. Zapruder’s parallelism hints at it:

“Thus I shone / a very powerful flashlight…”
“Thus I walked / out into this morning…”

Synchronicity or simultaneity: two seemingly unrelated things happen in different places or times but are held together artificially. It’s more jarring when the things are further apart in time and space, such as the “rich / acquaintance” in Guadalajara. Somehow this new character belongs in the network of meanings with the foxes, flashlight and shirt.

This is more than, or something other than, metaphor. Zapruder’s metaphor of the foxes’ “corporate need to snuffle / and roam in packs” places a lovely, filtering veil of corporate America over fox-ness, opening all kinds of analogous correlations and possibilities. But corporate America is not the dramatic frame of reference, whereas the dandelion-colored shift and flashlight and foxes are and are thus forced into contiguity along a lateral axis. They share the same “ontological” status, whereas metaphor is figurative and removed. Obviously, metaphoric vehicles still lurks around “darkly through the poem,” but not as prominently.

This effect operates in a poem whenever there is a shift in discourse of subject matter. It’s not necessarily just Bly’s “leaping,” either, which requires emotional content. In Leaping Poetry, Bly wrote that Ashbery and his disciples didn’t properly “leap” because they merely change subjects without a “head-of-emotion.” But Zapruder’s shirt doesn’t have much emotional valence and it still works to bring that special aspect of reality to the fore: the paradox of the simultaneous unity of everything hidden in the appearance of disorder or chaos. So I’d take issue with Bly and agree more with Kelly, who says nothing about emotion. Merely changing subjects does seem to work.

Kelly sees transformation of the world as poetry’s function: “We are given: 1 world to transform, 1 language to transform it with,” and adds, “transformation is process, involves truth as emergent from process and not distinct from it.” Kelly was describing a new kind of poetry (deep image) when he wrote these ideas, but they have proven applicable to a whole range of poetics of disjunction.

I was 14 years old when I read this poem. I found it in an anthology called New Poets of 1965, which I kept until it fell apart and no longer have a copy of. I did not know Robert Kelly’s work then. I did not know he was part of the first wave of deep imagists. I felt the twang of common ground in the somewhat Catholic imagery, and in my awakening sense of how Eucharistic reality might fit with my growing awareness of desire, my sexual desire. The poem made my horniness mystical, and my sense of the mystical twain with my passion–in all senses of the word passion.

I think what I like best about it is its ceremony, an almost liturgical feeling that moves as all good lyrical poetry moves on the precipice of the silly, the precious, and the absurd. I wore this poem out and memorized it, along with the Ted Berrigan’s Sonnets in the anthology, Kathleen Frazier’s poem in which she accepts her legs, and Gilford’s poem “The Abnormal is Not Courage.” 38 years later, and I still enjoy this poem, though now it does not come to me as a revelation, but as a memory of a voice I found true.

Poem for Easter

All women are beautiful as they rise
exultant from the ruins they make of us. . .
and this woman
who lies back
informing the sheets
has slain me with all day love
and now keeps vigil at the tomb of my desire
from which also she will make me rise
and come before her into Galilee
Rising I fall
and what does her beauty matter
except it is a darkness, sabbath,
where the church
our bodies
everywhere comes together
to kindle one small light
the unyielding, the flesh,
then Resurrection
The radio messiah
I know that my redeemer liveth
and he shall stand in the last days
up from this earth
beyond blasphemy
beyond misunderstanding.
Oh love, this hour will not let me name
They will say I make a sexual mystery of your passion
whereas we know, flesh rises
to apprehend one other mystery,
as the astonished lover’s eyes come open in his coming
to find that he is not alone.

We begin with an Interview with David Shapiro responding to Keats’ Ode on a Grecian Urn and much more. (You can catch up on the conversation by checking out last week’s post which included contributions from Alfred Corn, Richard Howard, Don Share, Dara Wier, and Richard Zenith.)

MORE RESPONSES FROM POETS AND CRITICS

That urn is cold. I find it strange that several poets and scholars speak of the beauty-truth equation as the last lines of the poem. That equation has called forth so much fuss – its bald assertiveness is immensely persuasive at first hearing, then almost instantly the mind rebels against the symmetry of identity. The equation seems like a handsome face you glimpse in the crowd—it teeters between vapidity and sublimity, depending on whether you keep on gazing or else close your eyes to retain the first impression. This very oscillation is Keats’ work, his way of bracing us for the actual conclusion of the poem: the last words the urn addresses to us, assuring us that the equation, problematic as it seems, is all we know on earth, and all we need to know.

If in fact we are the ‘ye’ –archaic second person plural familiar—spoken of twice in those last lines.

That urn is cold – ‘cold pastoral’ we have heard, the chill ring of marble. The strophes of the ode grow progressively more somber. The passions and delights pictured on the urn are sublated into eternity, which is usually a pretty chilly condition in Christendom – one doesn’t think of eternity as the prolongation of life but as the prolongation of the tomb, the marble replica of life – which this Grecian urn also is.

And the cold, marmoreal, eternal, all-encompassing time-denying Thing speaks to us, from the serene apartness of things, and says …all ye know, and … all ye need to know.

Experiment: Try hearing, just for once, the stress placed firmly on the ye. Then, with the sprezzatura so appropriate to artist and artifact alike, a creature from eternity condescends to speak to our flesh-bound mortality, whose antics the marble creature literally comprehends and (perhaps with infinite, tender subtlety) envies.

All ye know on earth – beauty, truth, these glorious abstractions, easily revered, more easily compromised. And that equation will serve people like you in your contingencies and trivial earthly need for reassurance that there is something to understand in life, and that you understand it. With the stress on the ye, I hear an insinuation that some higher, worthier form of knowing exists, whose propositions and parables far exceed the simplistic equation the urn offers us as our consolation.

Or do humankind and urn console each other? The urn consoles us for our transience and we console it for its inability to feel the kiss it holds suspended for two thousand years, unable to pursue the beloved or be pursued, unable to share in the sacrificial meal when the poor heifer is offered up to those vague and nameless deities towards which, even now, she raises her lustrous amber eyes.

I don’t think Keats meant (not that it’s important whether he did or didn’t) or believed the equation – if he had, he would have set it in his own authorial voice, which speaks with all the immense authority that found Keats in that mild May of 1819, the voice that speaks all the rest of the poem. By putting just those words in the urn’s mouth (so to speak) Keats proposes what our cronies overseas would call a rupture, a chasm in the texture of trust and sincerity we still insist on finding in poems. The urn tells us not what truth is, not what beauty is, but what we are.

—Robert Kelly, February 2010

The quotes given, except for Bridges, don’t have much range – from I.A. Richards to M.H. Abrams, we are throughout in the realm of the New Criticism, with the “Word According to Eliot” holding supreme sway. For all that I admire them, these critics shared two limitations evident in their commentary on Keats:

They’re prejudiced against Romanticism and skeptical of the philosophical underpinnings of Romantic aesthetics (Bloom called them out on this).

They looked for complexity to the point that they imposed it — mostly, it would seem, as a way of satisfying their own intellectual vanity (7 types, etc.). No one was going to out-sophisticate them! Richards’s disdain for the gullibility of the common reader and Eliot’s mock-modest “I fail to understand it” and his “grammatically meaningless” exemplify this tendency. Eliot wants to prove his superiority to Keats himself (by looking down his nose at Keats’s sentimental abstraction), not just Keats’s readers – and yet Eliot’s the poet of “in my beginning is my end, in my end is my beginning,” etc. and “What the Thunder Said” – a pseudo-philosopher among poets if ever there was one.

Also, there’s the newfound aspiration to a “scientific” kind of literary criticism, modeled on empiricism and the scientific method (doubt as the vehicle of truth), most purely exemplified by Richards. Ask any real scientist – this is largely a sentimental construct in itself.

Brooks and Abrams waffle more sympathetically with their invocation of dramatic context, though frankly this poem is hardly King Lear (nor was it meant to be) and the Urn is hardly a character in the Shakespearian sense. The Urn is an emblem and the quotes are not, cannot be, meant to denote a speaking Urn. This bespeaks another overdone motif of mid-20th century critical orthodoxy: Persona is all. What they really mean is much closer to Williams’s “no ideas but in things” (which Keats is one of the greatest exemplars of, as a supreme poet of the senses and of startlingly immediate imagery) than it is to anything specifically “dramatic.”

Don’t get me wrong, I admire all these critics tremendously, love and admire Eliot’s poetry, and I believe that the New Criticism was a far cry better than most of the ideological and theoretical criticism that followed. But I think they are all (except maybe Bridges), missing the point almost deliberately.

The context of the quote, and the thrust of the poem, is pretty straightforward, actually — and pretty run-of-the-mill for its time. It’s the execution that makes the poem special.

The predominant philosopher for all the Romantics, from Blake to Yeats, was Plato. Plato was the prime philosopher behind 19th century idealist philosophy, and so he was the philosopher that the 20th century empiricists (logical positivists, Popper, etc.), including the aestheticians, rejected first. Keats’s main man in this respect was Joshua Reynolds. Joshua Reynolds’s aesthetics were influenced by Locke, but they were first and foremost Platonic, and Keats’s poem is an extraordinary expression of this most admired contemporary intellectual’s belief in the source of the power of art: the Platonic tenets that a) the contemplation of Beauty leads to Truth and b) the highest forms of art refer to things eternal and immutable.

It’s as simple as that, but I’d add that in this context there are two moments in the poem that wonderfully presage the conclusion in this context:

“Heard melodies are sweet, but those unheard / Are sweeter…” == pure Platonism (out of Pythagoras). Yeats couldn’t have said it better

“Cold Pastoral!” – a great moment in the poem, and tougher and brighter and more surprising by far than the ending. Here we’re in the realm of “the sublime” as it was defined by Longinus, then Baudelaire, and more recently by Anne Carson. The sublime is cold, truth is cold, beauty is cold. So much for sentimentality. And so:

The value of Beauty cooled by Truth, hardened by truth, made honest by truth, the sense that all the pleasures of the senses are belated and second-hand: this is at the heart of what Keats (speaking through his megaphonic Urn) has to say as a “friend to man.” This is another way of saying that we can’t really appreciate the value of beauty, or create an honest beauty, without admitting the truth of death to the equation.

One last observation, maybe too cute, but irresistible in the face of Eliot’s huffy “grammatically meaningless”:

If you read the famous statement (pace I.A.) as an equation, i.e. “Beauty = truth truth beauty” what you have is a recipe – a recipe for beauty that is not mere “beauty,” but aesthetically ideal “Beauty.” In other words: real Beauty = one part beauty, two parts truth.